Sıra Dışı Orta Bizans Başlıklarından İki Adet Dörtlü Sütunce Başlığı

Abstract

Makalede Uşak Müzesi’nin arkeolojik taş eser bölümünden iki başlık tanıtılmaktadır. Başlıklar, dörtlü sütunce şeklinde biçimlendirilmiş taşıyıcılarıyla monolit olup özel bir başlık biçimi sergilemeleri nedeniyle beraber ele alınmaktadır. Mimari bir kontekst içerisinde bulunmamışlardır. Müze kayıtlarında sadece bir tanesinin geliş yeri belli olup Frigya Sebastesi’ne 9 km. mesafedeki Sivaslı/Ağaçbeyli’den geldiği kaydedilmiştir. Orta Bizans mimari plastiğinin klasik motiflerini taşısalar da biçim ve bezeme uygulanışı açısından sıra dışıdırlar. Her ne kadar başlık tipleri kendi içerisinde çok çeşitlilik gösterse de söz konusu başlıklar başlık ve taşıyıcı arasında bir ara ögenin mevcudiyetiyle yaygın başlık tiplerinden farklı bir özellik göstermektedirler. Başlıklardan birini kabaranın ana motif olması sebebiyle ‘kabaralı başlık’, belli bir tipolojiye oturtulması zor olan diğerini ise arkad motifinden ve üstteki sepeti andıran kısmından dolayı ‘kalathosu arkad frizli başlık’ kategorisinde ele alınabilirler. En iyi ve öncelikli karşılaştırma örnekleri Sebaste kazılarından gelir. Hatta Sebaste’deki bir kilise için başlıkları günümüze ulaşmamış düğümlü dörtlü sütunceli templon taşıyıcıları (10. yüzyıl) öngörülmektedir. Burada ele alınan başlıkların sütuncelerinin nasıl biçimlendirildiğini bilmesek de boğumlu veya düğümlü olmaları muhtemeldir.

Keywords

• Orta Bizans
• Frigya
• Sebaste
• Kakma
• TEmplon

Two Four-Shafts Column Capitals Among Extraordinary Middle Byzantine Capitals

Abstract

This article introduces two capitals from the archaeological stone artefact section of the Uşak Museum. The capitals are monolithic, with their quadripartite columnar supports, and are studied together due to their unique forms. The capitals were not found in their architectural context. According to the museum records, only one has a known place of origin, which is Sivaslı/Ağaçbeyli, 9 km away from Phrygian Sebaste. Although the capitals date back to the Middle Byzantine period and reflect common workmanship features, they differ in form and decoration style. While the types of capitals show great variety within themselves, these particular capitals exhibit a feature with an intermediate element between the capital and the support, distinguishing them from common capital types. One of the capitals has a prism at the bottom; the main capital sits above it, and it ends with an abacus. The horizontal cross-section of all the elements of the capital is square. The other capital consists of two parts in a roughly square prism shape, lacking an abacus. There is an intermediate element resembling the column rings with a circular cross-section between the support and the main capital. The definition used for a similar capital from Apamea serves as a reference for these two examples, which exhibit significant formal differences. Accordingly, the four-shaft column (either a column or pier) can be divided into parts as a prism-shaped table between the capital and the support, a comparatively high ring, and the capital itself. Apart from the four-shaft columnar support, another common element of the two capitals is the transitional component between the main capital section and the support. It takes the form of a prism with greater volume in one of the capitals, while it resembles a ring-like base plate in the other. Since both the base plate and the ring are used separately in each capital, it would not be incorrect to define this component as a transitional element. These formal definitions align with the concepts found in the capital typology of the period, which is based on distinctions made according to decorative elements and includes column capitals as well. Examples where a multi-columnar shaft is monolithic with the capital are rare. The number of such capitals from Asia Minor is slightly higher when compared to the only two known examples from the eastern Black Sea region and Greece. As the cabochon is the main motif on one of the capitals, it can be considered in the category of “cabochon capital”; in contrast, the other capital, which is difficult to classify within any specific typology, can be classified as a “capital with arcade friezed kalathos” because of the arcade motif and the kalathos formed in the part above. In one of the capitals, inlays most likely made of a different material were placed into drill-carved cavities on the square table decoration. The drill work between the bands and braids of the kalathos closely resembles the arch fragments found inside the tomb at the northern corner of the church’s narthex during the excavations conducted between 1966 and 1970 in the Sebaste, southeast of Selçikler, Uşak. It is possible that this example also featured glass inlays in the arch corners and in the medallion sequence decorating the arch. For the templon (10th century) of a church in Sebaste, reconstructed on the basis of the in situ stylobate, knotted colonnettes have been proposed. This inevitably raises the question of how the supports were terminated. The often-cited unscaled reconstruction drawings depict the supports terminating in central knots. While comparative parallels exist for such a configuration, there are also instances where the knot does not coincide with the midpoint, where the support features multiple knots or is entirely knotted, or where the support is, instead, connected by a cubical intermediary block resembling the body of a capital. Although how they were designed may not be known, the shafts of these capitals discussed here may be knarled or knotted. Traces on the surfaces of both capitals reveal that they were subsequently altered, most likely in adaptation for secondary use outside their original architectural setting. This possibility precludes the establishment of firm connections with the liturgical furnishings of the churches in Sebaste. Nevertheless, in terms of ornament, stylistic character, craftsmanship, and proportions, they may be regarded as products of the region’s artistic milieu. Their significance lies in their capacity to illuminate the broader corpus of Byzantine architectural sculpture in western Asia Minor.

Keywords

• Middle Byzantine Period
• Phrygia
• Sebaste
• Templon
• Inlay

References

1. Acun, H. (1985). Manisa’daki Türbe Mimarisi. Belleten 49/195, 479-502. https://doi.org/10.37879/ttkbelleten.997858 (erişim 01.12.2024)
2. Alpaslan, S. (1996). Antalya’nın Demre (Kale) İlçesindeki H. Nikolaos Kilisesi’nde Dini Ayinle İlgili Plastik Eserler, Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü, yayınlanmamış doktora tezi, Ankara.
3. Altripp, M. (2006). Die geknoteten Säulen in der byzantinischen und romanischen Kunst, Mediaevistik 19, 9-19. https://www.jstor.org/stable/42586335 (erişim 01.12.2024)
4. Altunkaynak Duğan, S. (2014), Kütahya’nın Altıntaş Köyü’nde Bulunan Seydisül Türbesi’ndeki Deesis Sahnesi. Höyük 5, 83-91.
5. Andıç, A. (2012). İzmir Arkeoloji Müzesi’ndeki Bizans Dönemi Taş Eserleri, Çanakkale Onsekiz Mart Üniversitesi Sosyal Bilimler Enstitüsü, yayınlanmamış yüksek lisans tezi, Çanakkale.
6. Asutay-Effenberger, N. (2006). Konya Alaeddin Camisi Yapım Evreleri Üzerine Düşünceler. METU JFA 23/2, 113-122. https://open.metu.edu.tr/handle/11511/51000 (erişim 01.12.2024)
7. Belke, K.-Mersich, N. (1990). Phrygien und Pisidien, TIB 7, Wien.
8. Bogdanović, J. (2008).Canopies: The Framing of Sacred Space in the Byzantine Ecclesiastical Tradition, Vol. I. A Dissertation Presented to the Faculty of Princeton University in candidacy for the Degree of Doctor of Philosophy.

9. Bogdanović, J. (2017). The Framing of Sacred Space. The Canopy and the Byzantine Church, New York, Oxford University Press.
10. Bouras, C. (1988). Catalogue of a Collection Architectural Members in the Byzantine Museum, formerly in the International Museum of Athens”. Deltion ChAE 13, 39-78. https://ejournals.epublishing.ekt.gr/index.php/deltion/article/view/4621/4397 (16.12.2024)
11. Buchwald, H. (1995). Chancel Barrier Lintels Decorated with Carved Arcades. JÖB, 45, 231-276.
12. Dennert, M. (1997). Mittelbyzantinische Kapitelle: Studien zu Typologie und Chronologie (Asia Minor Studien 25), Bonn.
13. Doğan, S. (2018). Mimari Plastik Buluntular: Liturjik Kuruluşlar ve Liturjik Mekanlar ile İlişkisi, Aziz Nikolaos Kilisesi Kazıları 1989-2009, (Haz. S. Doğan-E. Fındık), İstanbul, 301-328.
14. Er, Y. (2017). Klasik Arkeoloji Sözlüğü, Ankara.
15. Ermiş, M. (2021). A General Evaluation of the Latest Field Surveys in Phrygian Sebaste and Immediate Surroundings, Sebaste (Phrygia) (Haz. E. Taştemür-M. Dinç), Bilgin Kültür Sanat, Ankara.
16. Feld, O. (1975). Die Innenausstattung der Nikolaoskirche in Myra, (haz. Borchardt, Myra 1975), Berlin.
17. Fıratlı, N. (1972). Uşak-Selçikler Kazısı ve Çevre Araştırmaları 1966-1970. TAD XIX-II, 109-160.
18. Fıratlı, N. (1990). La sculpture byzantine figurée au Musée Archéologique d’Istanbul, Paris.
19. Filipova, S. (2016). Comparative Methodology of the Herakles’ Knot and Its Meaning in Macedonian Medieval Art. ПАТРИМОНИУМ.МК, година 9, бroj 14, 107-117. http://www.kalamus.com.mk/pdf_spisanija/patrimonium_9/009%20=%20009_2%20Snezana%20Filipova%20-%20Patrimonium%202016.pdf (erişim 01.12.2024)
20. Greenhalgh, M. (2009). Marble Past, Monumental Present, Building with Antiquities in the Mediaeval Mediterranean, Boston.
21. Hild, F.- Hellenkemper, H. (2004). Kilikien und Isaurien, TIB 5, Wien.
22. Hjort, Ø. (1979). The Sculpture of Kariye Camii, DOP 33, 199-289. https://www.jstor.org/stable/pdf/1291438.pdf (erişim 18.12.2024)
23. Hoppe, S. (2019). Translating the Past: Local Romanesque Architecture in Germany and Its 15th century Reinterpretation, The Quest for an Appropriate Past in Literature, Art and Architecure 60 (ed. K. A. E. Enenkel-K. A. Ottenheym), 511-585. https://archiv.ub.uni-heidelberg.de/artdok/6159/1/Hoppe_Translating_the_past_2019.pdf (erişim 18.12.2024)
24. Kautzsch, R. (1936). Kapitellstudien, Berlin.
25. Kalavrezou-Maxeiner, I. (1985). “The Byzantine Knotted Column”. (Haz. S. Vryonis, Jr.), Byzantine Studies in Honor of Milton V. Anastos Byzantinia kai Metabyzantina 4, Malibu), 95-103. https://www.academia.edu/8276265/The_Byzantine_Knotted_Column
26. Khrushkova, L. (2018). Unpublished and Little-known Late Antique and Byzantine Artifacts from the Eastern Black Sea Region, Archaeologia Bulgarica ХХII/ 2, 61-102. (https://www.academia.edu/37981946/Khrushkova_L_Unpublished_and_Little_Known_Late_Antique_and_Byzantine_Artifacts_from_the_Eastern_Black_Sea_Region_in_Archaeologia_Bulgarica_%D0%A5%D0%A5II_2_2018_pp_61_102)
27. Marangoz, E. B. (2019). Konya ve merkez ilçelerindeki (Karatay, Meram, Selçuklu) Anadolu Selçuklu Dönemi Sütun ve Sütunce Başlıkları, İstanbul Üniversitesi, Sosyal Bilimler Enstitüsü, yayınlanmamış yüksek lisans tezi, İstanbul.
28. Matvieieva, Y. (2018). Knots on Veils and Knots on Columns in Byzantine Art: Origin, Use, Symbolism. The Ethnology Notebooks 5/143, 1246-1254. https://nz.lviv.ua/archiv/2018-5/21.pdf (erişim 01.12.2024)
29. Mellink, M. J. (1971). Archaeology in Asia Minor. AJA 75/2, 161-181. https://www.jstor.org/stable/pdf/504035.pdf?refreqid=fastly-default%3Ae35d4dcaa19e0534cc1a02571ab121bd&ab_segments=&initiator=&acceptTC=1
30. Mendel, G. (1914). Catalogue des Sculptures grecques, romaines et byzantines des Musées impériaux Ottomans II, Constantinople.
31. Mercangöz, Z. (1994). Akhisar Ulu Cami İçindeki Düğümlü Sütunlar. Sanat Tarihi Dergisi 7/7, 145-162. https://dergipark.org.tr/tr/download/article-file/152465 (erişim 01.12.2024)
32. Niewöhner, P. (2008). Mittelbyzantinische Templonanlagen aus Anatolien Die Sammlung des Archäologischen Museums Kütahya und ihr Kontext”. İstanbuler Mitteilungen 58, 285-345. (https://www.academia.edu/12555874/Mittelbyzantinische_Templonanalgen_aus_Anatolien_Die_Sammlung_des_Arch%C3%A4ologischen_Museums_K%C3%BCtahya_und_ihr_Kontext) (erişim 01.12.2024)
33. Orlandos. A. K. (1939-40), Η Αγια Τριας του Κριεζωτη, ΑΒΜΕ 5, 1-16.
34. Orlandos, A.K. (1955- 56), Νεωτερα ευνρηματα εις την Μονήν Δαφνιού, ΑΒΜΕ 8/1, 68-99.
35. Orlandos, A.K. (1955- 56), Παραλειπόμενα απο την Μ. Χελανδαριου, ΑΒΜΕ 8/2, 105-116.
36. Ötüken, Y. (2006). 2004 yılı Aziz Nikolaos Kilisesi Kazısı ve Duvar Resimlerini Belgeleme, Koruma-Onarım Çalışmaları. Kazı Sonuçları Toplantısı 27/I, 297-312.
37. Ötüken, Y.- Parman, E.- Doğan, S. (2007). Mimarlık Bezemesinde Taş Eserler, Kalanlar, 12.-13. Yüzyıllarda Türkiye’de Bizans (Ed. A. Ödekan), İstanbul, 29-32.
38. Ötüken, Y. (2008). Neue Aspekte zur Datierung der mittelbyzantinischen Bauplastik in Kleinasien, La sculpture byzantine VIIͤͤ-XIIͤ siècles, BCH Supplement (Haz. C. Pennas- C. Vanderheyde), 105-121.
39. Parman, E. (2002). Ortaçağda Bizans Döneminde Frigya (Phrygia) ve Müzelerindeki Bizans Taş Eserleri, Anadolu Üniversitesi Yayınları, no:1347, Edebiyat Fakültesi yayınları no:11, Eskişehir.
40. Pasinli, A. ve Soyhan, C. (1976). Sarayburnu Bölgesinden Yeni Buluntular. MTRE Bülteni 8/2, 35-40. https://core.ac.uk/download/pdf/80960019.pdf (erişim 01.12.2024)
41. Pazaras, Th. (1988). Ανάγλυφες σαρκοφάγοι και επιτάφιες πλάκες της μέσης και ύστερης βυζαντινής περιόδου στην Ελλάδα. Αthens.
42. Philippe, J. (1990). Reflections on Byzantine glass. I. Uluslararası Anadolu Cam Sanatı Sempozyumu (26-27 Nisan 1988), İstanbul, 40-46.
43. Rakićević, A. T. ve  Debljović Ristić, N. (2022). Medieval templon with inseparable objects of prostration. A case of Saints Joachim and Anna Church in the Studenica Monastery. Zograf 46, 73-98. (https://www.researchgate.net/publication/375728023_Medieval_templon_with_inseparable_objects_of_prostration_A_case_of_Saints_Joachim_and_Anna_church_in_the_Studenica_Monastery) (E.T. 01.12.2024)
44. Rhoby, A. (2014). Byzantinische Epigramme auf Stein, nebst Addenda zu Bänden 1 und 2, Byzantinische Epigramme in inschriftlicher Überlieferung 3/I. Wien.
45. Sheppard, C. (1969). Byzantine Marble Carved Slabs. The Art Bulletin 51/1, 65-71. https://www.jstor.org/stable/pdf/3048588.pdf (erişim 17.12.2024)
46. Sklavou-Mavroϊdi, Μ. (1988). Masks in byzantine sculpture. Deltion of the Christian Archaeological Society 13, 175–180. Προβολή του Παράσταση προσωπείου σε βυζαντινά γλυπτά (ekt.gr) (erişim 01.12.2024)
47. Ćirić, J. (2020). The Symbolism of the Column in the Architecture of King Milutin. The Legends Journal of European History Studies I, 81-100. http://dx.doi.org/10.29228/legends.41923 (erişim 01.12.2024)
48. Strzygowski, J. (1936). Ruins of Tombs of the Latin Kings on the Haram in Jerusalem. Speculum 11/4, 499-508. https://www.jstor.org/stable/pdf/2848542.pdf (erişim 01.12.2024)
49. Temple, Ç. (2013). Konya/ İkonion ve Çevresinde Bulunan Bizans Dönemi Taş Eserleri, Hacettepe Üniversitesi, Sosyal Bilimler Enstitüsü, yayınlanmamış doktora tezi, Ankara.
50. Tezcan, H. (1989). Topkapı Sarayı ve Çevresinin Bizans Devri Arkeolojisi, İstanbul.
51. Traquair, R. (1905/1906). Laconia: I. Mediaeval Fortresses. The Annual of the British School at Athens 12, 259-276. https://www.jstor.org/stable/30096356 (erişim 01.12.2024)
52. Vanni, F. (2020). Byzantine Stucco Decoration (ca.850-1453) Cultural and Economic Implications Across the Mediterranean, a thesis submitted to the University of Birmingham the degree of doctor of philosophy. https://etheses.bham.ac.uk/id/eprint/11669/ (erişim 01.12.2024)
53. Yıldırım, Ş. (2006). Philomelion’daki (Akşehir) Bizans Dönemi Taş Eserleri, Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü, yayınlanmamış yüksek lisans tezi, Ankara.